Douris et les peintres de vases grecs . defeatinevitable, couvre sa tête avec sa cape tohide sa disgrâce, une figure dramatique, suggestingthe souvent cité de travail - Agarmemnon Timanthes cacher son visage pour ne pas witnessthe sacrifice de sa fille Iphigénie. Westill pourraient citer vases de la Louvre-beautifulexamples-montrant le retour d'achille triste etdans le désespoir de sa tente. Ce qui a fait thisbeautiful et tragique d'inspiration ? Qui createdthese les attitudes de son éloquence si ce n'est pas theGreek drame ? Ne savons-nous pas que l'un des grands effets dans le drame de iEschyluswas justement sa mise sur th

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Douris and the painters of Greek vases . defeatinevitable, covers his head with his cloak tohide his disgrace, a dramatic figure, suggestingthe often cited work of Timanthes — Agarmemnon hiding his face so as not to witnessthe sacrifice of his daughter Iphigeneia. Westill could cite vases from the Louvre—beautifulexamples—showing Achilles returning sad andin despair to his tent. What caused thisbeautiful and tragic inspiration? Who createdthese attitudes of mute eloquence if not theGreek drama? Do we not know that one ofthe great effects in the drama of iEschyluswas precisely his placing on the stage animmovable Niobe, and a stei-n Achilles, who^.nswered the messages of Agamemnon simplywith unrelenting silehce? The poetry in the best compositions of Dourisis entirely derived from memories of the epicand memories of the drama. It matters littlewhether he invented them or whether theywere suggested to him; it is the very essenceof Greek painting disclosed before our eyes, with its spirit of fireedom and ready adaptation.. Fig. 18. ACHILLES KILLING TROILOS. By Euphronios. Louvre Museum. v.] MARTIAL SUBJECTS 65 Everything is helpful and suggestive to anartist. Whether derived from epic recitations, from lyric strophes, or from the theatre, thesefloating images all become fixed by his brushand take .definite shapes, which in turn willhaunt the imagination of other artists andguide their hands. What a rich fertility of art, which multiplied its creations on all hands, andunited all classes of the Athenian people intoa kind of brotherhood of labour I 2. Martial Subjects. Battle - scenes had for three centuries beenthe classic subject of industrial design. Aswith all primitive peoples, war had been atfirst the chief occupation of the Greeks, andin consequence one of the chief sources of art.The Dipylon vases covered with warriors, chariots, boats, dead and wounded, or withpompous funeral scenes are contemporary withthe Iliad. From the seventh to the fifthcentury the warri

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